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One of Lars Gustafsson’s closest friends among writers in the German language was Max Frisch, whose work Gustafsson admired. In this comparative reading of Frisch’s  Der Mensch erscheint im Holozän  ( 1979 ) and Gustafsson’s  En kakelsättares eftermiddag  ( 1991 ) the latter is examined as an elaborated response to Frisch’s text. The influence of Martin Heidegger’s philosophy on Frisch’s  Stiller  (1954),  Homo faber  (1957) and  Mein Name sei Gantenbein  (1964) has been explored in previous scholarship. In the following reading of Frisch’s novel, Heidegger’s  Der Ursprung des Kunstwerkes  is also pointed out as an influence. This influence on Frisch’s text is also one of the subjects of the response we find in Gustafsson’s novel. Thus, in the concluding segment of this article Heidegger’s essay is a key text when understanding how Frisch’s novel is absorbed into Gustafsson’s.

The Art of Accepting: Ageing-as-art in Max Frisch’s Der Mensch erscheint im Holozän and Lars Gustafsson’s En kakelsättares eftermiddag